Materials：pottery, marker,

Size: 30*45cm

Intention: By placing two pieces of pottery that are roughly similar yet complementary in shape together, I transformed them through squeezing, hugging and pressing, and used this shape change to reflect how people influence each other in close relationships (friendship). The patterns on both sides of the pottery are silhouettes of human figures interacting with many friends, such as taking pictures of each other, hugging each other, etc. On top of the silhouette, wind chime flowers and lilies representing friendship and women were also added.

我把两块形状大致相似但形状互补的陶器放在一起，通过挤压、拥抱和按压来改变它们的形状，并利用这种形状的变化来反映人们在亲密关系（友谊）中如何相互影响。陶器两面的图案是人物与许多朋友互动的剪影，如互相拍照、相互拥抱等。在轮廓的上方，还添加了代表友谊和女性的风铃花和百合。

Materials：pottery, marker, underglaze decoration, mineral pigment  

Size: 35*40cm

Intention: By placing two pottery pieces (the one on the left in p1 represents a male and the one on the right represents a female) together and then colliding, deforming them through hugging, pushing and squeezing, it shows how people influence each other in an intimate relationship (love). At the same time, it also reflects that in love, the "us" often see the other person with self-projection.

通过将两件陶器（p1中左边的一件代表男性，右边的一件代表女性）放在一起，然后通过拥抱、推动和挤压来使他们碰撞变形。它展示了人们在亲密关系（爱情）中是如何相互影响的。同时，这也反映了在爱情中，“我们”常常用自我投射来看待对方。

Materials：pottery, marker,

Size: 30*45cm

Intention: By placing two pieces of pottery (the left side in p1 represents the child and the right side represents the parent) together, I hugged, squeezed and pushed them to deform them, and used this shape change to reflect how people influence each other in intimate relationships (kinship). The patterns on the front and back of the pottery are two people sitting back to back and mothers holding their young child, both of which can convey the affection between familymenbers.

我将两件陶器（p1中的左边代表孩子，右边代表父母）放在一起，通过拥抱、挤压和推动使其变形，并利用这种形状变化来反映人们在亲密关系（亲属关系）中如何相互影响。陶器正面和背面的图案分别是两个人背靠背坐着，母亲抱着年幼的孩子，这两种图案都能传达出家庭成员之间的感情。

Materials: Oil pastels, color charks, oil paint,

watercolor, polymer clay

Size: 77*35.5cm

Intention:

Saturn is surrounded by a ring, which have been accompanying Saturn all along. Just like each of us, we have many people around us who accompany us, guide us and take care of us... At the front position, I made a set of polymer clay, the little brown figure is me. I made several

people who accompanied me in different scenarios. The remaining pieces of polymer clay also represent the people who have been accompanying me all along.

土星被一圈光环环绕，这圈光环一直陪伴着土星。就像我们每个人一样，身边总有许多人陪伴着我们、引导着我们、照顾着我们……在最前面的位置，我用软陶做了一组作品，那个棕色的小人就是我。我还做了几个在不同场景中陪伴我的人。剩下的一粒粒的软陶也代表着一直陪伴着我的那些人。

Materials: Oil paint, Liquin(丽坤), Saponified wax

Size: 50*70cm*2 pieces

Intention:

This project wants to express that a person's

personality is very easily influenced by the

environment. Along the way, we have walked through

countless people's shadows. These shadows are

imprinted on us but may not leave permanent marks.

Moreover, sometimes our choices are controlled by

others. Such control often comes from elders, which

is common in East Asian families. These "controls"

are like palms stained with paint, leaving permanent

and indelible marks on our pure white clothes.

这个项目想要表达的是，一个人的性格很容易受到环境的影响。一路上，我们穿行于无数人的影子之中。这些影子印在我们身上，但可能不会留下永久的痕迹。而且，有时我们的选择会被他人所左右。这种控制往往来自长辈，在东亚家庭中很常见。这些“控制”就像沾了颜料的手掌，在我们洁白的衣服上留下了永久且无法抹去的印记。

鲁怡晨

Medium: Digital Illustration (Procreate)

Size: 3269px × 4329px

Intentions / Brief Explanation:

我的这幅画叫《两平米的安全感》，画面内容是一个少女在床上紧紧地，像抓着救命稻草一般地抓住被子，试图以此获得安全感。而被子在少女的幻想中被幻化成母亲的样貌，用布料的温暖给予女孩母亲很久没有给予给她的拥抱。整个画面色调昏暗偏紫，唯独被子在发出橙黄色的暖光，就这一点暖光也足以让少女感受到温暖。

我的画试图探讨现代社会中亲子关系之间的疏离，由于家长不充足的陪伴或经常以负面情绪对待孩子，孩子就容易感受到不安全，从而试图通过各种方法而补足这种安全感的缺失。而小时候没有安全感的孩子，长大成为父母也不知道如何对待孩子，于是这样就形成创伤代际传递。画面中的少女仅身着背心和短裤，因为我想体现出她那种在家庭里试图和父母坦诚以对，向他们倾诉一切，但是由于家长的疏离，她只能将她脆弱的这一面隐藏于最私密的时刻，试图自我消化。

这幅画的灵感还有很大部分来源于我的真实感受，我每次难过的时候，都喜欢把被子枕在脸下面，因为靠在很温暖、很宽阔的东西上面会莫名给我一种很强的安全感，而经常没有安全感的我 久违的体会这种感觉时就会忍不住想哭。

受Greg Egan的《Closer》的启发，这部作品探讨了如果我和另一个人拥有相同的身心，会发生什么。这些画描绘了两个交换了身体和思想的人。第一次看他们，你只能看到他们在表面上看着对方，但仔细一看，你会发现他们实际上是在第二层上看着自己。他们通过分享变得比以往任何时候都更亲密，但也比现在更孤独。

This gouache painting is composed of multiple small studies inspired by photographs I took during an educational trip in Ningxia. Each individual piece depicts architectural elements—bridges, corridors, and passageways—that serve both as visual motifs and structural connectors, integrating the panels like pieces of a puzzle into a unified whole.Rendered in a soft lilac and pink palette, the work conveys the warmth and companionship offered by my classmates, friends, and mentors who accompanied me on this journey. The recurring bridges and linking forms act as metaphors for human connection, echoing the painting’s central theme of relationships and the invisible ties that bind us together.

Through its modular yet harmonious construction, the piece explores how separate experiences and individuals can interlock to form a continuous, supportive narrative—much like memory itself.这幅水粉画由多幅小幅习作组成，灵感源自我在宁夏学习旅行期间拍摄的照片。每一幅作品都描绘了桥梁、走廊和通道等建筑元素，它们既是视觉母题，也是结构连接点，将各个部分像拼图碎片一样整合成一个统一的整体。作品以柔和的淡紫色和粉色为主色调，传达了陪伴我走过这段旅程的同学、朋友和导师们给予我的温暖与陪伴。反复出现的桥梁和连接的形式隐喻着人与人之间的联系，呼应了这幅画的核心主题——人际关系以及将我们联系在一起的无形纽带。

通过模块化而和谐的结构，这幅作品探索了不同的经历和个体如何相互交织，形成一个连续的、相互支撑的叙事——就像记忆本身一样。